The Wayback View - Printing: Dead or Alive

I just love how printing is portrayed in the media. Here are two scenes from 1958's TV show Wanted Dead or Alive starring Steve McQueen. Despite the equipment shown (which is still used today for specialty work) the characterization of printers and their customers is not too far off what still happens today.

The press in the TV episode is similar to this one:

Movie by Thomas & Erik Desmyter
A Liberty platen press invented and patented in 1859 by Frederick Otto Degener in New York.

BTW, "Josh" mentioned Horace Greeley (February 3, 1811 – November 29, 1872). He was an American newspaper editor and a founder of the Liberal Republican Party. The New York Tribune (which he founded and edited) was America's most influential newspaper from the 1840s to the 1870s and "established Greeley's reputation as the greatest editor of his day."

Crusading against the corruption of Ulysses S. Grant's Republican administration, he was the new Liberal Republican Party's candidate in the 1872 U.S. presidential election. Despite having the additional support of the Democratic Party, he lost in a landslide. He is the only presidential candidate to have died prior to the counting of electoral votes.

Click HERE for more examples of printing in the movies.

5 Myths of Online Print Buying Exposed

While millions of people recognize the essential need for printed materials to successfully market their business, they find the process painful and expensive! Sure you can save money printing online, but who’d want to do that? The answer is: anyone who’s smart enough to ignore these common myths…

Myth #1: You can’t get quality customer service
If you’ve shopped for anything online, you know that customer service is one of the first things to suffer. Call for help, and you’ll get long hold times that often lead to inept sales reps who don’t answer your questions – and never call you back. Who needs it right? Why not spend the extra money and see your local printer who you can talk to face to face? Well, the truth is, in the online print industry – you simply don’t have to settle for poor service! It’s as simple as knowing where to shop and who to talk to. With devoted sales teams that follow your project from start to finish - companies like PrintingForLess.com have an A+ Better Business Bureau rating that often exceeds that of local printers. Don’t be jaded by bad experiences, and let that force you to miss all the opportunity that printing online has to offer.

Myth #2: You need to be a technical wizard to succeed
Knowing how to handle complex technical situations can be intimidating to say the least. The good thing is, when it comes to online printing – that’s not your job! You want to make sure that your printer is an expert who is eager to assist you in every aspect of file preparation. Make sure your printer accepts every file type – so you know your designs will be transferrable to their presses. This is another feature that you can research quickly and simply by making a few calls. Online printers who refuse to accept your Microsoft Word or Publisher file for example, don’t deserve your business – especially when many other printers will! The fact is online print shops typically have more resources than local printers to augment files, and prepare them for printing. Take advantage of their assets.

Myth #3: You can’t get professional design services
Perhaps you’ve been relying on your local printer to provide graphic design services – usually at a premium price. How could you ever switch to online printing where you’re expected to submit a completed file type? Answer: many online printers have pre-stocked templates that are free, and easy to use. Some even supply pre made industry copy that can be tweaked to your liking, but is generic enough to promote the benefits of your business. Check out what online printers have to offer – you might find their designs look better than anything your local printer has created!

Myth #4: You don’t know how it will turn out
A major myth surrounding online printing is that you submit your image and specs – and it’s done, no turning back. What comes out the other end of the pipe is what you get - with no recourse. Sure, that would turn anybody away from the process! But don’t let the poor practices of a few ruin your expectations for all online printers. Quality printers will always supply you with a “Proof” that you must approve as your final product before anything is produced on a mass scale. Why not benefit from the attention to detail that comes from a large staff of professional experts who are all dedicated to the success of your job?

Myth #5: You can’t guarantee the best results
There are actually some online printers who will guarantee their work, 100%. That means if you don’t like it for any reason, you can return it for a full refund! That’s almost unheard of with local print shops!

The bottom line is…find the right printer! With a minimal amount of research you’ll see that you can save money printing online - and you don’t have to sacrifice quality, customer service, or peace-of-mind to do it.

The information in this post is courtesy of PrintingForLess.com - America's Print Shop. Click HERE for more details.

The Paper Circle

Submitted by Print Guide subscriber "Alois Senefelder."

Choosing the right print coating

The right coating can help protect the printed piece or add a creative dimension. The results will usually look best on coated paper because the hard, nonporous surface of coated paper holds the coating on the top of the paper rather than have it disappear by being absorbed into the paper. Even when trying to achieve an overall matte effect, a gloss coated sheet is usually the best paper choice and the gloss finish on the paper will provide superior printability. In general, uncoated papers do not benefit very much in appearance from coatings or varnishes, although either will help prevent rubbing in areas of heavy ink coverage. Matte or satin varnishes or coatings are the best choices for uncoated stocks.

Varnishes
Varnishes are applied on press like any other ink and can be tinted to create a special effect. Although gloss and matte varnishes are typically used as spot or overall coatings, they can also be incorporated in the process or spot color inks in order to provide a unique look to the presswork. They can be wet trapped (i.e. printed at the same time as the other inks) or dry trapped (i.e. printed as a second pass through the press after the other inks have dried). Dry trapping provides a superior result but is a more expensive process. Varnishes may yellow with age, however, this is usually not noticeable when the varnish is used over process colors, but it is noticeable when the varnish is applied over unprinted paper. They also require the use of offset spray powder on press to keep the printed sheets from sticking together before the varnish is completely cured. The powder left behind can adversely affect the look and feel of the finished piece.

Gloss varnish: This coating can be applied overall or in spot areas with high precision. A gloss varnish increases the saturation and depth of colors while improving image contrast. It provides good protection against rub-off but some fingerprinting will be apparent on dark or light colors. Because the gloss finish is highly reflective it creates glare on the surface of the print which may impair the readability of text.

Matte varnish: This ink protects the sheet with a non-reflective coating which enhances the readability of text-heavy pages. Using a matte varnish over images tends to flatten and soften them, but it can provide a lush tactile quality to the paper surface. As with a gloss varnish the coating is printed with a litho plate, so it can also be spot applied with high precision. It is more resistant to fingerprinting than a gloss varnish however it will tend to scuff or gloss up with wear. If the presswork is packed for delivery it's a good idea to place blank paper between the printed items to prevent them rubbing against each other and scuffing.

Satin varnish: This coating is created by mixing gloss and matte varnishes together and offers an intermediate level of shine, with good scuff resistance.

Opaque varnish: Adding a small amount of opaque white to a varnish can give it a slight opacity which can help in creating a stronger separation between a gloss and a matte varnish. Adding a slight contamination with silver ink can accomplish the same effect on very dark colors.

Strike-through matte varnish: A litho plate printed varnish that, when overprinted with an overall gloss UV or aqueous coating, will create a visual separation between areas of a press sheet. Gloss/matte effects work best on dark colors, or when enhance by the content of underlying graphics.

Aqueous coating
These water-based coatings are applied using a rubber blanket inline on a special dedicated press unit. among the most commonly used coatings available today and provide good protection from fingerprints and other blemishes. Aqueous coatings are less likely to yellow and are more environmentally friendly than varnishes. They dry faster than varnishes which translates into faster turnaround times on press. They don't require spray powder. Because they seal the ink from the air, they can help prevent metallic inks from tarnishing. Aqueous coatings can cause certain spot colors such as reflex blue, rhodamine, violet, purple, and PMS warm red to change color. Sometimes within a few minutes but also over time - months or even years later. Because the aqueous coating is water-based an typically applied over the entire sheet it is best to use at least an 80# text weight or heavier paper to prevent the paper from curling, distorted, or wrinkled.

Gloss aqueous: Usually applied as an overall coating, gloss aqueous offers better protection than gloss varnish. It is sometimes applied to a spot area however this requires cutting an expensive press blanket. It also results in edges that are not as sharp as a spot varnish and registration that is less precise. The surface dries instantly, making it an excellent choice for short run work-and-turn projects. Aqueous coatings help disguise surface flaws and roughness in the non-print areas of inexpensive papers. The gloss finish improves the apparent saturation of ink but somewhat reduces the readability of text.

Matte aqueous: A scuff resistant matte coating which, as with gloss aqueous, is generally applied overall. And like a matte varnish it will soften and flatten images slightly.

Satin aqueous: A popular compromise between gloss and matte, offers a pleasing sheen and good sheet protection.

SoftTouch aqueous: A proprietary coating that is applied with a special metering roller to create a suede-like texture and extreme matte appearance.

Pencil receptive aqueous: This is a special matte aqueous coating that is designed to be pencil, ink and laser receptive.

Dry erase aqueous coating: An inexpensive high gloss alternative to lamination to make any paper suitable as dry erase marker surface.

Primer aqueous: A coating that is applied before lamination, or to difficult substrates to make them ink receptive.

UV Coatings
UV coatings are applied inline by printers or offline by finishers or converters. They are applied as a liquid, using a roller, screen or blanket, and then exposed to ultraviolet light to polymerize and harden the coating. Like aqueous coatings, UV coatings can cause certain spot colors to shift in hue. Some UV coatings may have a strong odor.

Gloss UV: Creates the highest printable overall gloss coating. Depending on the printer's equipment it can be applied to spot areas.

Matte UV: Depending on the printer's equipment it can be applied overall or just to spot areas. It is prone to fingerprinting.

Pearlescent UV: These gloss coatings include miniscule metal flecks in red, blue or silver, giving a pearlescent appearance.

Orange peel UV: A slightly raised, textured finish, gives this coating a unique tactile and visual quality that is similar in appearance to thermography.

The Wayback View - Printing the London Telephone Directory - 1937

"The Telephone - A Sound Investment" promotional postage stamp canceling mark.
In the 1930s, telephones were still not in general use, so in 1937 the British GPO (General Post Office) Film Unit produced a short film on the production, and value, of the London Telephone Directory. The film "Book Bargain" was directed by Oscar winning Canadian film director and animator Norman McLaren.

Inks beyond CMYK, Hi-Fi, and Pantone - the world of effects pigments

Printers and their customers are always looking for new ways to add value and a creative spin to print. When conventional CMYK, Hi-Fi, and Pantone spot colors just don't have the impact - it's time to look at the options available with effects pigments.

Here is a run down of the most popular effects ink pigments. Savvy printers will pretest and, based on their understanding and relationship with their customers, make them aware of the creative opportunities these inks provide.

Photochromic inks
Arguably one of the most popular of the effects inks. Photochromic ink undergoes a reversible color change when exposed to UV light. The color change is immediate and reverts to its original color or becomes colorless when the light source is removed. This ink is available in wet or dry offset and flexographic printing.

Austria Solar's 2011 annual report uses photochromic inks to parallel the company's business. It ships in a foil package. Open it under indoor light and all you’ll see is an embossed cover followed by blank pages. However when exposed to the sun the photochromatic inks react and the content is revealed. The report is the creation of agency Serviceplan and Creative Director Cosimo Möller.
Photochromic inks are available in colorless-to-color and color-to-color formulations.
Photochromic ink viewed under office lighting.

Photochromic ink viewed under sun light.
Thermochromic inks
Thermochromic inks are temperature-activated. When rubbed, held in the hand, or exposed to differing temperatures the ink changes from a colorless state or to another color and quickly reverts to its original color.
As with photochromic inks, thermochromic inks are available in colorless-to-color and color-to-color formulations. The temperature when the color change occurs can be predetermined - e.g. color appears at 72°F and becomes colorless at 90°F or color appears at 81°F and becomes colorless at 90°F.

Hydrochromic
This ink is activated by water, not sunlight or heat. A white hydrochromic ink just looks like white ink. When water is applied, it disappears and the image behind it appears. When the water dries, the image goes back to white.

UV Fluorescent
These inks are normally invisible as printed but fluoresce under UV light. There are two types; single long wavelength (360 nm) and dual which fluoresces one color under short wavelength UV (250 nm) and a different color under log wavelength UV (360 nm). Typical UV fluorescent color inks include yellow, green, blue, orange, and red. These inks are often used in banknote printing. This ink is available for wet or dry offset, flexographic and gravure printing.

Optically Variable Ink
This ink contains minute flakes of metallic film which, when viewed at different angles, morphs from one color to another very dramatically. This ink needs to be printed with a fairly heavy weight to get the best results which makes the ink feel almost embossed on the substrate. The ink are very expensive and therefore is usually printed in small areas. The most common color changes are brown to green (and vice versa) as well as red to purple. It is typically used for passports and driver's licenses.

Bleeding
Bleeding ink prints in black but when exposed to any aqueous solution it will produce a red stain - even when touched with just a wet finger. This ink is only available for use with dry offset printing.

Fugitive Ink (water based)

Fugitive ink works similarly to bleeding ink since when exposed to water or an aqueous solution the ink runs. These, also, will be found on checks and if you are to wet your finger with saliva and wipe across the background, you would see the ink smudge.

Coin Reactive
The image printed from this ink is white or transparent. The image is revealed when the edge of a coin is rubbed over the ink. Coin reactive ink cannot be scanned or copied.

Erasable
Erasable ink is used on the background of a document. If an eraser is rubbed on it the ink rubs off in that area. The ink also reacts in the same manner as solvent/chemical reactive inks do. Erasable inks are typically used on scenic or pantograph backgrounds on checks and certificates. This ink should not be used for documents that will go through a laser printer.

Iridescent
Iridescent ink is a translucent pearlescent ink which, when viewed at different angles, creates a subtle change of iridescent hues. It is available in blue, red, green, gold, and silver.

Metameric Pairs
Metameric pairs are two inks that appear similar in color under one set of light conditions but are visibly different under another set.

Puff Ink
Puff ink rises and expands ("puffs") when exposed to a heat source.

Glow in the Dark Ink
This ink radiates a bright light green color after being exposed to bright light and then placed in a relatively dark environment.

Penetrating Ink/Indelible Ink
Penetrating inks contain a penetrating red dye that goes into the fibers of the paper and will show through to the back of the document. Penetrating inks are commonly used on the arabic and MICR numbering of negotiable documents to deter forgers from trying to scrape the number off from the document. If the number is scraped off the red stain remains on the document. Penetrating inks are available for letter press or wet offset printing.

Drupa 2012 - With a song in my heart

Like any major trade show - and the 2012 edition of Drupa certainly ranks as such - a stirring theme song is used to get everyone excited and motivated to attend.

Drupa's 2012 song is: "Get Ready to Succeed"


Drupa 2012 has even spawned a tribute "The Magic Of Drupa" by Alex Kunst and Laurel Brunner.

The previous show - Drupa 2008 had a similar dance-based beat with more words than you could imagine would fit into the tune of: "One World One Drupa"


To get an idea of how far the industry has come, one has only to listen to the painful theme from Drupa 1986:


Drupa 2012 takes place May 3 - 16, 2012 in the Düsseldorf Fairgrounds. If you're in the graphic arts you owe it to yourself to attend at least one Drupa in your lifetime.

How to subdue the Reflex Blue Blues

Reflex Blue (a.k.a. Red Shade Alkali Blue, Pigment Blue 61, Reflex Blue R 54/R 56) is one of the most commonly used spot colors - especially for corporate colors - and it is one of the most problematic inks to use on press.

Reflex Blue suffers from excessive marking, low scuff resistance, poor lightfastness and poor, very slow, drying qualities. It also has a bronzed look that causes it to shift color, from Blue to Purple when viewed at different angles.

And when mixed as part of another blue spot color, Reflex Blue effectively contaminates that ink color with its poor performance characteristics.

Reflex Blue Blues - slow drying

Printing inks are made primarily with resins, varnish, linseed oil, soybean oil, or a heavy petroleum distillate as the solvent (called the vehicle) combined with organic pigments. The resins and varnish control the tack and gloss of the ink while the solvents control press stability and fluidity. Drying oils control surface strength, drying time, and set, while the pigment acts as the coloring agent.

Although each ink pigment is unique, most have fairly uniform shapes and surface areas. Reflex Blue pigment on the other hand has jagged, irregular surfaces and shapes. To blend Reflex Blue ink, ink manufacturers must add surface active agents to the mix that allow proper wetting of the pigment. As a result, the ink retains a higher level of moisture than other ink formulations and therefore takes longer to dry.

Offset inks are generally designed to dry by two methods: absorption into the paper and evaporation from the surface. As the ink dries, the small, uniform color pigments settle close together and leave a flat ink film surface. However, when Reflex Blue pigments set they have a rough ink film surface. Although the ink may feel dry to the touch, just a light rub will break the surface and expose the wet pigment underneath. This results in unsightly scuff marks and color transfer (set-off) to surfaces that come into contact with it.

Reflex Blue Blues - color shift/burn out

Reflex blue  color-shift or "burnout" can occur when the printed ink film is over-coated with aqueous, or UV coating.  This affect results from a chemical reaction due to pH incompatibilities between the alkaline aqueous coating and certain alkaline sensitive ink pigments like Reflex Blue. The chemical reaction basically changes the way the color pigments reflect light. Individual press sheets pulled during the press run or top sheets in the pile are rarely as affected as the sheets within in the press loads. This indicates that heat and oxygen deprivation are contributing factors in accentuating and accelerating, the color-shift effect. Unfortunately the color-shift may not be apparent immediately off press and may take 24 hours or longer to be noticeable.

Tips for subduing the Reflex Blue Blues

1 Don't use it. If that's too drastic then:
If you are a printer, speak to your ink vendor. Most will stock an "imitation" Reflex Blue substitute. The most common is a Carbazole Violet & Phthalo Blue mix. Note that the imitation Reflex Blue may have a slightly different hue than the actual Reflex Blue so do a drawdown of the ink and get customer approval.

If you are a print buyer/specifier, speak to your print supplier about selecting an "imitation" Reflex Blue substitute. Get drawdowns of the ink and, once satisfied with the hue, document the ink manufacturer, ink series and name so that the same ink can be used for all your Reflex Blue needs.

2 Print the job using UV inks since they dry immediately.

3 Print small lifts. Shorter stacks of paper at the press deliver facilitate faster drying by allowing more air to circulate between sheets enabling gasses to escape. Shorter stacks will add a small amount of extra run time on press. Wind the printed loads as soon as possible to reduce unnecessary exposure to high heat builds captive in the pile.

4 If the shop runs a five day production schedule then print on Friday to allow the sheets to dry over the weekend before printing the second side or sending the presswork to the finishing/binding processes.

5 Consult with the printer/ink vendor to determine whether reformulating the Reflex Blue ink by adding drying agents. Note that doing so may increase cost and/or compromise the inks on press performance in other ways - e.g. it may adversely affect te quality of screen tint areas.

6 Apply a varnish, aqueous or UV coating to help seal the ink and eliminate scuffing, fingerprinting, and bronzing of larger ink areas. Use a low-amine or heat-resistant aqueous coating with as low a pH as possible (less alkaline). Inform your ink supplier of the need for alkali or fade resistant inks compatible with aqueous or UV coating and also consult with you coatings supplier and are assured of these pigments’ compatibility with their product. Confirm that the coating to be applied has been thoroughly tested prior to running the job.

7 Beware that UV coating, in particular, does not coat well over Reflex Blue and will sometimes fade or change the ink color. Pre-test Reflex Blue, especially tint solids and screens, by wet-trapping half the image with selected coating and then expose both samples to a high-heat source such as a heated saddle dryer. On-press testing is usually required to simulate actual production with ink and fountain solution. For side-by-side comparison, cut the coater blanket packing half-way through the printed ink film to be tested. Then expose the coated and uncoated print samples to a heated dryer saddle immediately off press. Burnout and color-shift will usually occur during heat application. If time permits, wait 24 hours, then reapply heat, and again compare the color integrity of the test samples. Test, test, test.

Other alkali sensitive pigments that can have similar issues to Reflex Blue include:
• Rhodamine Red - (Y.S. Rhodamine Red)
• Purple - (B.S. Rhodamine Red)• Warm Red - (Red Lake C)
• Violet - (Methyl Violet)
• 072 Blue
• Rubine Red - (Lithol Rubine)
• Fluorescent inks